Byre’s Here In Dead Lights EP

Byre’s Here In Dead Lights EP is chock full of vibrancy and a ton of eclectic ideas on five very strong examples of what it is they do, and aim to keep doing. Aaron Tanner and Zach Zint came together with Spencer Seim, Rob Crow (Pinback, Goblin Cock), with guitarist Ryan Grisham (Mock Orange). If you can get over that, like it or not, you can only be impressed upon how it came out on this EP that comes crashing in with the astounding “Object Permanence” sounding somewhere between psychedelic and modern synth-pop music for the current masses.

That is not to say it doesn’t reflect some classic qualities, but it harkens back that way to when the attitude was pure industry and at least half romantic driven to dazzle the generation. Call it what you want but I call it good, yet not the same old run of the mill indie rock, it has a lot more to it. “Ghost Blood” contains everything that’s good about rock ‘n roll, yet it contains everything about it that’s not rock ‘n roll at the same time. This song defies all categories if a song ever did. It goes from country and gospel to pop, rock and soul in one fell swoop.


In fact, the band achieve a lot in diversifying everything so much it’s as if you’re on a retro-radio trip without leaving your seat. After only two tracks you’re pretty much knocked out and ready for more, or there’s no need to continue. There’s no dimmer switch here, it’s black and white, and you either get off on it or you don’t. It succeeds to do the former on every level if you read this review. “Melindiana” is all you need to hear, but I’m only one place to find the word about it. There is not filler on this EP, and that’s what meets the price of admission.

You just keep listening away to that swirling sound and you can easily do it all over again and again before you even move onto the next song. It’s that enormously satisfying to say the least. The drums are what stand out the most for me, but only by an edge over the rest of what is a mini masterpiece of an EP release. The bell tones of “Gallagher III” come ringing out next and once again you’re taken for a smooth and adventurous wave of sound. It’s something of a throwback, but it’s also ahead of its own time.

“With A Hammer” comes slamming down and you’re not happy it’s almost over, but you know it has been real. The final track leaves you with a jubilant performance in the studio by all involved, and keeps you feeling like you’ve just heard an entire full length album in one five track EP. The tracks are all substantial and have a plethora of things to say by what is also exactly that of a combination of contemporary artists to its tremendous credit.

Michael Rand

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